Quote:
Originally Posted by kadowser
I'm glad to hear that the performance doesn't sound as bad as in my head - you know, only the composer hears all the wrong notes  . |
Yeah...it's a known phenomenon...
Quote:
Originally Posted by kadowser
And btw, thanks for helping me out 1 week ago, when I was trying to find out what to do with the double stops (as you see, I only ended up using two, and I think that was the right choice for the piece).
|
Oh, I didn't remember...glad I could be of help and...
This turned out to be a beautiful piece!
Quote:
Originally Posted by kadowser
I'm actually eager to hear what the "minor problems" in the score was, so I can modify it before I forget all about it hehe. What wereyou excactly thinking of?
|
Ok, minor stuff really, but very important:
1) Vln.1, m. 5. The mp and the accent seem to collide.
2) m. 6. A double barline before the meter change? Also for m.30, 31 etc.
3) m. 7, vla. The crescendo ends up...weird...
4) m7., vln 2 (and a bit in db). The p marking under the time signature...
5) m15-17. I'm sure you wanted some articulations there...also in some places throughout the piece...
6) m.16, vla. The grace note needs to be slurred with the next one.
7) m. 26. The martellatos on the barline.
8) m. 26, vc. The ff colliding with the accent.
9) m.44, some collisions there...
10) m. 46, vc&db. What is the dynamic level? In the vc, move the p from m. 44 here...
11) m.44-45. The viola cue, is a bit unnecessary...
That's (I hope) all of them...
Phew!